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The American Musicological Society and the Music Division of the Library of
Congress are pleased to present a series of lectures highlighting
musicological research conducted in the Division’s collections.

13 May: Candace Bailey (North Carolina Central Univ.) presents Silencing
the Guns of War: Women’s Binder’s Volumes in the Library of Congress.

In this lecture, Candace Bailey examines bound collections of printed music
from the Library of Congress to illustrate the music performed during the
Civil War in Union areas near the nation’s capital. She hones in on those
compiled by Annie Houseal, a music teacher in central Pennsylvania; Minna
Blair, the daughter of Lincoln’s postmaster general Montgomery Blair; and
Laura Cooke, the daughter of financier Jay Cooke. She demonstrates that
“musicking” during the Civil War did not necessarily include music of the
Civil War, even among those invested in its quotidian machinations. In
light of these findings, Dr. Bailey explores the meaning of “musicking” in
Civil War parlors, considering such motivations as music to soothe trauma,
to entertain, and to please. 

19 May: Marta Robertson (Gettysburg College) presents “A Gift to Be
Simple”: Japanese American Influence in Appalachian Spring.”

Professor Marta Robertson looks at the iconic ballet Appalachian Spring
(1944) through the lens of Japanese-American influences on the initial
production, especially via the dancing of Yuriko [Kikuchi] and set design
of Isamu Noguchi. Having been detained in incarceration camps, Yuriko and
Noguchi offer political and cultural perspectives on the frontier and
Americana that contrast with those of choreographer Martha Graham and
composer Aaron Copland. 

26 May: Mackenzie Pierce (Univ. of Michigan) presents “Tadeusz Zygfryd
Kassern’s Opera The Annointed, the Koussevitzky Foundation, and the Music
of Holocaust Memory in the Early Cold War.”

Professor Mackenzie Pierce analyzes one of the earliest operas that
commemorates the Holocaust, The Annointed (1951) by Tadeusz Zygfryd
Kassern. Drawing on unexamined materials from the Koussevitzky papers and
Koussevitzky Foundation’s collection at the Library of Congress, Pierce
examines how Holocaust survivors deployed music to navigate the often
incompatible personal, political, and commemorative demands of the early
postwar period. 


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